Centre National des Arts Plastiques (CNAP)

Between Gennevilliers and New York, Omar and Emmanuel go to great lengths to prove to each other they're no longer in love.

Halfway between a sports documentary and an conceptual art installation, "Zidane" consists in a full-length soccer game (Real Madrid vs. Villareal, April 23, 2005) entirely filmed from the perspective of soccer superstar Zinedine Zidane.

A variation on paroptic vision (the ability to see with the skin, without the aid of the eyes), telepathy, colour theory and the theremin. The various sequences introduce the hypothesis of an imaginary cinema. The film is presented as a series of rushes, suggesting an unfinished film in progress.

Elsa Brès' "Notes for les Sanglières" imagines an alliance between wild boars and people grounded on concepts of boarcentrism, ecofeminism and forms of communal living. Shot in the area of the Cévennes, in the South of France, the video brings together ideas, experiments, field recordings and fiction tracks that sketch the common struggle of human and animal rights.

Apiyemiyekî? addresses the genocide of the Waimiri-Atroari people in 1970s, when during the Brazilian dictatorship indigenous lands in the mid-west were invaded for the construction of the national road BR-174 and the installation of a mining company. Illustrations about the period, created by the indigenous population, including children, reveal a traumatic history, referring us to the present day.

The French Trilogy showcases a series of 62 photographs taken by Philippe Terrier-Hermann with 25 actors in 6 French regions echoing his previous project, The American Tetralogy. Questioning the relationship between cinema, landscapes and representations, this project features a song by Edward Barrow and was visible in public space in France during the summer of 2013, through a distribution system borrowing from advertising strategies.

A cello player is asked by her daughter why she suddenly interrupted her musical career… The voices and images of the two women intertwined with the author’s give way to thought, vision. Confessions of lives dedicated to creating.

Where do images come from? This disturbing and essential question is posed by Philippe Grandrieux, and he already imposed it on himself the start, via Sombre (1999) up to the portrait recently devoted to Masao Adachi (FID 2011). From where, then? Maybe from the depths behind our eyes, ungraspable visions, night in suspension, promise of the end of an eclipse, between dream and nightmare. This is the start (and in truth the programme) of White Epilepsy. In a darkness barely broken by light, a mass advances: a nude back, in a long shot entirely centred on the shoulders.

"...The budget was 500,000 francs, financed by the Ministry of Culture, the OCTET agency in Populus [...] On this occasion, we created a production company whose name was inspired by the comic book of Jean-Claude Forest, Mystérieuse Matin Midi et Soir." - Minh

Stephen Dwoskin’s final film is a meditation on the subjective experience and cultural concepts of ageing. The film is an ode to the texture, the beauty, the singularity of aging faces and silhouettes, a hypnotic poem in the Dwoskin meaning of the term which is long observations of very tiny details. A gesture, a pause, a look, a moment. Throughout his films intimacy has always played a leading role and this is also true for Age is..., all the faces being close friends, or close friends relatives and sometimes even Stephen himself.

Reflecting on the legacy of Haitian revolutionary Toussaint L’Ouverture, Ouvertures follows a collective’s process of translating Édouard Glissant’s play Monsieur Toussaint from French to Creole.

Khtobtogone begins as a love story between protagonist Zine and the girl of his dreams, Bulma. But in introspective narration, Zine reflects more broadly on masculinity and coming of age in Marseille’s Maghrebi community.